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Words: 54283 in 30 pages
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ime and almost superhuman cunning, probably without parallel in modern times.
Arrangements were soon made at Whitehall. Muir Lockhart was an understanding man, and by three o'clock in the afternoon I walked out into the sunshine free from all official cares for a month. I took a long, deep breath as I crossed the Horse Guards Parade and made my way to the long, green vista of the Mall. "The first act is over," I thought. "The curtain is rising on the real drama. Somewhere in this world there is a man whose discovery and death I owe to Society and to myself."
And I was a man who never failed to pay a debt.
And I knew, by some mysterious intuition, that I should succeed in the task before me. I had not, as yet, more than the most rudimentary idea how I was going to set about it, but I should succeed. Don't misunderstand me. I had hardly any hope of seeing my dear love alive again. I believed that all the joy of life was finally extinguished. But justice--call it vengeance rather--remained, and I was as sure that I was the chosen instrument of that as I was that I had just passed between Marlborough House and the Palace of St. James.
My expensive but delightful chambers in Half Moon Street were on the second floor--sitting-room, dining-room, bed and dressing rooms and bath.
The sitting-room was panelled in cedar-wood, which had been stained a delicate olive-green, with the mouldings of the panels picked out in dull gold. Connie and her gay young friends, when they came to have tea with me, or supper after the theatre, used to say that it was one of the most charming rooms in London.
I had spent an infinity of time and money on it, determined that it should be "just so." For instance, the carpet was from Kairowan in Tunisia, and had taken a whole family of Arab weavers five years to make. Never was there a more perfect blue--not the crude peacock colour of the cheaper Oriental rugs, but a blue infused with a silver-ash shade, contrasting marvellously with the warm brick-reds and tawny yellows. It was a bargain at four hundred pounds.
I had hung only half a dozen pictures in this room, all modern and all good. My "Boys Bathing," by Charles Conder--better known as the painter of marvellous fans--was a masterpiece of sunlight and sea foam which made me the envy of half the collectors in town. Then I had a William Nicholson--"Chelsea Ware"--that was extraordinarily fascinating. It was just some old Chelsea plates and a jug standing on a table. It doesn't sound fascinating, I know, but the painting was so brilliant, there was such vision in the way it was seen, that one could look at it for hours.
There was an open hearth of rough red brick in the room, deep and square, and when there was a fire it burned in a gipsy brazier of iron. I had a lot of trouble to get this last of the right shape, and finally it had to be made for me, from the design of an artist in Birmingham.
Such a room, with its perfect colour harmonies and severe lines, required no knick-knacks. Nothing small or petty, however beautiful in itself, could be allowed there. I had two cabinets of magnificent china in my dining-room, but china would have been quite out of place here. Along one wall, about four feet from the floor, was a single shelf of old pewter--cups and flagons of the Tudor period with the double-rose hall-mark--and that was all.
As I entered and flung myself wearily into a chair, the afternoon sunlight poured in through the half-drawn curtains of sea-green silk. In the ceiling a hidden electric fan was whirring, and the room was deliciously cool. And as I looked round, the place seemed hateful beyond all expression. I was sick of it, loathed its beauty and comfort; an insane desire came to take a hammer and wreak havoc there as my eyes fell on the only photograph in the room. It was one of Constance, in a frame of dull silver, studded with turquoises, and she had given it to me no longer than a fortnight ago.
Thumbwood slept at the top of the house. He came in, after I had been resting for a few minutes.
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